Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Sierra Leone and from Spokane.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Accra kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Technova to the dance kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Barclay James Harvest. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Todd Terry,
Man Parrish,
Fort Wilson Riot,
Alice Coltrane,
Orchestral Manoeuvres in the Dark,
Monolake,
Gang Green,
Lebanon Hanover,
ABC,
The American Breed,
Soul II Soul,
Kevin Saunderson,
Dual Sessions,
Johnny Clarke,
The Victims,
Franke,
Althea and Donna,
Interpol,
Byron Stingily,
The Cosmic Jokers,
Black Pus,
Kurtis Blow,
Robert Hood,
Au Pairs,
The Dead C,
Sixth Finger,
Jimmy McGriff,
Rufus Thomas,
Joe Smooth,
The Smoke,
Ossler,
Lindisfarne,
Siglo XX,
Harmonia,
Procol Harum,
Blossom Toes,
Eric Copeland,
Selector Dub Narcotic,
Warsaw,
Godley & Creme,
Brothers Johnson,
Roy Ayers,
Leonard Cohen,
The Martian,
Scott Walker + Sunn O))),
Joey Negro,
cv313,
Carl Craig,
Thee Headcoats,
48th St. Collective,
Ajijia Myrayebe,
Slave,
Radio Birdman,
Swell Maps,
Avey Tare,
Gang of Four,
Qualms,
Con Funk Shun,
Quadrant,
Joe Finger,
Ludus, Ludus, Ludus, Ludus.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.